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The Phoenician or Irish Cultural Age (according to Masonic linguist Conor MacDari http://clearwalksoft.com/poetry-dram...-pyramids.html) language schools understood the magic of words and symbols better than we do today. The Phoenicians (trans. followers of the Irish King Finn and his Fianna) are the mythological Atlanteans and much more from myth is attributable to them. The Father of Biblical Archaeology says the Bible is a Phoenician literary legacy. All the languages of the Mediterranean came from the Phoenicians. http://www.utexas.edu/cola/centers/l...n-Bomhard.html The Red-Headed League of Megalith Builders are Phoenicians and it now seems possible that the DNN or Ainu did genetic interbreeding with Denisovan Man and Neanderthal to make those red-heads.

Cy=eye of the cat? The aten disc and eye sigil with a dot in the middle is no eye at all. Deeper one gets to I and O. The IO Torus and binary math which clicking noises by animals like porpoises and Orangs use. My Ogham mentor told me the Druids in County Cork of the mid-19th Century gave Georges Boule his code upon which our modern computers are based. You see the aten disc on the end of a staff used by Indiana Jones to see the well of souls. IT is also the eye of Horus or all seeing eye of Masonry.

Pher = fur but deeper yet it is fire, the primary alchemical reducing agent to create "one" - ness or the Universal Harmonic of Light back to Heliopolitan or sun-worship which Thomas Paine told us Masonry is based on in his posthumous book. He said "Masonry is derived from the sun-worship of Druids." It is at some simplistic level also seen as son-worship. But at-one-ment is the goal.

The de 'cipher' (also cy-pher) ing of an 250 year old manuscript (Oculists and Masonic watchers) took researchers deep into the bowels of freedom but not past that PHRE-dom to oneness which 'fire' creates. A Masonic linguist named MacDari was the central focus of a 20 year research effort given to me by my Ogham mentor. MacDari said PHRE- masonry is fire masonry or the study of all things light and en-lighten - ing.

In this site and link you will see how the myth begins and more evidence of what I say.

"THE ISLAND OF ATLANTIS was a mythical realm of the far West which was sunk beneath the ocean by the gods to punish the people for their immorality.

The name "Atlanteans" was also given by the Greeks to the Phoenician colonies along the Barbary Coast of North Africa (i.e. around Mount Atlas). Diodorus Siculus describes their Titan-mythology and wars with the Libyan Amazones. Plato may have the same nation in mind, since he names the second Atlantian king Gadeiros after a famous Phoenician colony near the Straits of Gibraltar."

Perhaps I should not be so harsh on them because they emphasize Britain and have not done the research to take it back a lot further. They get a few things as correct as any do, and are worth a read.

"After Hu Gadarn, Aed Mawr is said to have set up The Druid Order about 1,000 B.C., with three Archdruidic sees and thirty-one other centres of learning. Classical tradition, however unreliable, agrees with this in speaking of the reception of the founder-philosopher of Greece, Pythagoras, into The Druid Order in Marseilles in about 529 B. C.

It has also a legend, already old to Herodotus, who disbelieved it, {My reading of Hecateus sees him as confirming the great wisdom, language knowledge and other arts demonstrated by Abaris.} that visiting Pythagoras came one Abaris, from the land of the Hyperboreans he being a priest of Apollo, speaking perfect Greek and “fit for the reception of wisdom.”

Passing over these more doubtful figures which approximate to myth, more sober traditions and records agree in attributing to the Druids an elaborate and lengthy wisdom teaching with several grades, and an influence over princes and Celtic tribal peoples alike.

“The Druids,” says Ceasar (Gallic Wars, Bk. 6 ) “preside in matters of religion, have the care of sacrifice and interpret the will of the Gods. They have the direction and education of youth… In almost all controversies… the decision is left to them… The Druids never go to war, are exempted from taxes and military service.”

The young “are taught to repeat a great number of verses by heart and often spend twenty years upon this institution… They (the Druids) teach likewise many things relating to the stars and their motions, the magnitude of the world and our earth, the nature of things and the power and prerogatives of the immortal gods.”

Britain not Gaul, was the centre or holy land of this formidable body and although Bardism compromised, disastrously for itself, with the Roman power in Gaul, here Druidism fought the invaders tooth and nail.

How far it was really driven out one cannot tell; it remained strong in Scotland, Wales and above all Ireland, whence the Christianised Druids returned as the missionaries known as Culdees and probably formed the background of great missionaries such as St. Columba (Columcille) who founded the Celtic Church in Britain.

The Arthurian traditions are clearly Druidic in their earlier forms, being part of a mystery teaching which includes the Welsh mythology."

William Henry expands on Newman's work to include Enki. I think Enki is evidence of pre-Sumerian mythology and code is possibly in the I. A. and E.A. words or symbols (see IO Torus and binary math bringing Druidic knowledge through Georges Boule according to my Ogham mentor.).

Cabals of Jews who wrote the Zohar were attempting a magic they thought had value because the earlier Jews had re-written scriptures to remove the feminine or Matronit. Given that the Jews were suffering mightily in Spain (Casiberia and Iberia) they hoped the Zohar would be able to reverse the bad karma. We have Daniel Matt's involvement in it being re-written in a variety of places in this forum - he is a great scholar and Academic from Stanford University. He wrote The Essential Kabbalah from which I have quoted Unsheathing the Soul. It addresses more than mere gematria or numerical values to the Hebrew scripts developed by Phoenicians who built the Great Pyramid. Dion Fortune was a great occultist who said Cabala and Kabbalah spelling 'twist' the force or energy. Qabala is the ancient verbal wisdom passed on through BRDs or bards in languages coded or not, depending on the audience. This author is mentioned in studies of the Voynich Manuscript.

In what you can read from his work above you see a Professor Newbold saw microscopic shorthand inside each letter of the manuscript and was able to read attribution of it to Roger Bacon. Despite the good professor doing this Gerry Kennedy and his co-author Churchill who are quoted in the opening post; determine the Voynich Manuscript is a hoax. I doubt that!

The next part I have chosen from thousands of possible venues all attacking each other and finding no reason (I emphasize.) or meaning in the work or the work of others who have worked the Manuscript. This part mentions Ukrainian and I know the old Ukrainian Language is very close to the original tongue of the Phoenicians - for good reason, if you read my work you will see. The origin of white people is near the Ukraine and archaeology shows they went to Urumchi where I found mention of jasper arrowheads dated to over 20,000 years ago in Barber's great book on those red heads. Caucasians we are called, and Casiberia and nearby Iberia (recently re-named to hide the importance - now Tiflis) all play a major role in my work.

"Newbold was followed in his research by William Friedman. Friedman, who helped decode Japanese transmissions during World War II and would go on to help found the National Security Agency and become its first chief cryptologist, debunked Newbold's theories but was unable to come up with his own translation. He gave up on the manuscript after three decades of work, calling it impossible to decipher even after he collected a group of codebreaking experts just before the end of World War II and convinced them to work on the manuscript. The 1970s brought further research, as professors such as William Ralph Bennett started to use computers in an attempt to crack the manuscript's code. In the same decade, Voynich researcher John Stojko proposed that the Voynich manuscript was written in a modified version of the Ukrainian language."

If John is correct about Ukrainian you should know people alive today spoke the Ukrainian language before Iberia's name was changed to Tiflis and a less Phoenician alphabet was installed.

The cover art of the artifacts found in relation to the Oculist 'watchers' over Masonry (see Thread de-cypher-ing Masonry) has designs similar to the Voynich Manuscript which pre-date Voynich. It is likely that the oculists did not know about that manuscript but it is in the realm of possibility that they did know it well. If they had nothing to do with the Voynich Manuscript as I think, why is this art so similar? Is it Mandalic in nature? It would make sense given the Masons study the use of energy in Mandalas. Elizabeth Wayland Barber studied the lozenges and plaids of Italy and Malta before going to Urumchi. These lozenges and symbols derived from the energy uses of many ancient systems both astrological and internal attunement oriented form a basis for all language alphabets. I propose the Voynich Manuscript's biological drawing also take us back to a time when man was making alphabets with root systems such as Oghamic Language of the Trees and Birds. These Green Language codes have been maintained through many proscriptions and bounties put on the heads of scientists.

Throughout the whole world you will find it - because people travelled all over the world for at least 200,000 years.

In the following jpeg you will see a shaman's drum with pictographic markings including a building with a cross or steeple on top. In North America these representations of man and how the energy of the cosmos enters man are done in rock kiosk forms. There are near runic and half Ogham art glyphs including what could be a "p' or Fupark (AKA futhark). It could be a tract but does not have enough symbology due to repetition of the teepees or something which looks like teepees. Nat Geo and S-A have said people crossed the Ice to America as much as 30,000 years ago.

This is taken from art done when Carl Linnaeus returned from Lapland in Northern Sweden a long time ago.

THE FUTHARK:
We all can easily see the power of logos and symbols like the cross or Swastika. These
symbols were built and designed to focus power and we will develop the understanding
of the mandalas a little more shortly. I have presented information about how the soul is
impacted by Kabalistic means in an excerpt called ‘Unsheathing the Soul’ from Daniel
Matt’s work that may seem hard to believe for the uninitiated and when he says it allows
the seeker to see and feel the god force it surely seems wrong to many hard skeptical
people. Runes are derived from Ogham and there are some scholarly papers that state this
fact. I believe Ogham was mathematical and derived or designed to build archetypes in
the energy that surrounds us.

"The oldest and most often used form of the runes is the collection of 24 Germanic
rune-staves that is called the 'Elder Futhark'. This collection of signs defines an
imaginative world inhabited from Paleolithic times until well into the 17th century. As
late as 1700, people were burned for using them.

The 24 signs are arranged in three families, or 'aett' (pluarl aettir'), of eight signs each.
The sequence of signs in each 'aett' is significant, and each is ruled over by a particular
spirit: 'Freya' and 'Frey', goddess and god of fertility, love and increase; 'Heimdall', the
Watcher and keeper of the Rainbow Bridge to the Heavens; and 'Tyr', war-leader and
spirit of the Just. Each rune is a symbolic storehouse and a magical talisman with a field
of meanings that connects objects, creatures, feelings, experiences, spirits, and archetypal
processes. They are seen as a description of the inner structure of reality. Their movement
in a particular situation articulates the way 'Wyrd', fate, is weaving our lives.

Because the runes did not go through the fixation of meaning associated with imperial
culture {N.B.} and the development of a universal compass {Propaganda and religious
oppression.}, their fields of meaning remain fluid and individual. Old texts and traditions,
written much later than the signs themselves, give sets of associations, but the intuition
still has free play. This is one of the reasons for their modern rediscovery. {Use of
divinatory or free associative insight allows psychic talent to blossom.}

For the runes are more than a way of sending secret messages. They exist in the
middle of a group of 'pagan' practices that includes weaving spells, speaking with the
dead, and travelling in the spirit. They were inscribed on objects to give them power and
potency, used to curse enemies, and seen as doorways to identification with a pagan god.
They would be used to examine the life-path of a newborn child or to determine the path
a tribe would follow. The cultures that used the runes put a high value on women and the
power of the goddess. Wise women and runemasters used these signs to understand what
the gods wanted; to see and change the shape of coming events." (3)

When they say Paleolithic they could mean from pre-Homo Sapiens era but I would say Ogham as a sign language fits that bill and Runes probably tie in with Le Placard baton of Marshack or it's minimum age of 16,000 BCE. El Coco or ogun (like ogam) could have been the earliest Ogham divinatory too. It is white colored pieces of coconut or any dark stone or object thrown or cast and then read by the hierophant or shaman.

"All things come out of the one and the one out of all things." - Heraclitus

From The White Goddess we have him saying a load of truth and giving glimpses into code or wisdom (yes, the two connect). It is hard for me to over-emphasize the importance of his work.

"But even after Alexander the Great had cut the Gordian Knot—an act of far greater moral significance than is generally realized—the ancient language survived purely enough in the secret Mystery-cults of Eleusis, Corinth, Samothrace and elsewhere; and when these were suppressed by the early Christian Emperors it was still taught in the poetic colleges of Ireland and Wales, and in the witch-covens of Western Europe. As a popular religious tradition it all but flickered out at the close of the seventeenth century: and though poetry of a magical quality is still occasionally written, even in industrialized Europe, this always results from an inspired, almost pathological, reversion to the original language—a wild Pentecostal 'speaking with tongues'—rather than from a conscientious study of its grammar and vocabulary.

English poetic education should, really, begin not with the Canterbury Tales, not with the Odyssey, not even with Genesis, but with the Song of Amergin, (1) an ancient Celtic calendar-alphabet, {Ogham} found in several purposely garbled Irish and Welsh variants, which briefly summarizes the prime poetic myth. I have tentatively restored the text as follows:

(Notes: 1 As Shakespeare knew. See Macbeth, IV, i, 25. 12)

I am a stag: of seven tines,
I am a flood: across a plain,
I am a wind: on a deep lake,
I am a tean the Sun lets fall,
I am a hawk: above the cliff,
I am a thorn: beneath the nail,
I am a wonder: among flowers,
I am a wizard: who but I Sets the cool head aflame with smoke?
I am a spear: that roars for blood,
I am a salmon: in a pool,
I am a lure: from paradise,
I am a hill: where poets walk,
I am a boar: ruthless and red,
I am a breaker: threatening doom,
I am a tide: that drags to death,
I am an infant: who but I Peeps from the unhewn dolmen arch ?
I am the womb: of every holt,
I am the blaze: on every hill, I am the queen: of every hire,
I am the shield: for every head,
I am the tomb: of every hope.

It is unfortunate that, despite the strong mythical element in Christianity, 'mythical' has come to mean 'fanciful, absurd, unhistorical'; for fancy piayed a negligible part in the development of the Greek, Latin and Palestinian myths, or of the Celtic myths until the Norman-French trovires worked them up into irresponsible romances of chivalry. They are all grave records of ancient religious customs or events, and reliable enough as history once their language is understood and allowance has been made for errors in transcription, misunderstandings of obsolete ritual, and deliberate changes introduced for moral or political reasons. Some myths of course have survived in a far purer form than others; for example, the Fables of Hyginus, the Library of Apollodorus and the earlier tales of the Welsh Mabinogion make easy reading compared with the deceptively simple chronicles of Genesis, Exodus, Judges and Samuel. Perhaps the greatest difficulty in solving complex mythological problems is that:

*3
Conquering gods their titles take From the foes they captive make,
and that to know the name of a deity at any given place or period, is far less important than to know the nature of the sacrifices that he or she was then offered. The powers of the gods were continuously being redefined. The Greek god Apollo, for instance, seems to have begun as the Demon of a Mouse-fraternity in pre-Aryan totemistic Europe: he gradually rose in divine rank by force of arms, blackmail and fraud until he became the patron of Music, Poetry and the Arts and finally, in some regions at least, ousted his 'father' Zeus from the Sovereignty of the Universe by identifying himself with Belinus the intellectual God of Light. Jehovah, the God of the Jews, has a still more complex history."

Would that we could teach this tap-in he suggests which allows speaking in tongues and synchronous exchanges with the Akashic. I believe I have often had this tap-in during bibliomantic and other 'tripping'. Today's research on horizontal gene transfer gives me great hope.

Because Pythagoras was a Druid and other Druids before him were into Gnosis it is reasonable to assume Rome targeted Gnostic teaching to make it (like Christianity) a tool for their propaganda. The fact that many Greeks were mandating the demise of women and their rights makes me wonder if Plato really went along by his own volition - his ancestor Solon had resisted this many centuries before. We need to look closely at every single thing Rome called a heresy, it will usually (at least) be something good and important to our growth and humanity.

Later, after reading Graves’ King Jesus and of Jesus’ exposure to ogham while training in Egypt, ogham became for me a potent symbol of a pagan past before Christianity.

When Flavin said the above I saw so many connections with MacDari and I have read Graves' White Goddess to cull some Phoenician insights - though good; not as good as the Golden Bough. I draw your attention to the word POTENT and I also wonder about the word or pejorative "pagan" rather than something like Chaos Science.

In searching for answers about Joyce and Druids (of which there are many sides) I found this little insight from a piece on St. Patrick being converted to (!) Ireland by a Druid. In it they talk about "pidgin" and "god's language" and I think they need to understand the Language of the Birds (Bairds or Druids) which is borne out of a need to hide knowledge especially during proscription eras when bounties on the heads of Druids existed. There were many Oghamic tracts (And different regions adapted different ones like Tiffinaugh or Libyan we have seen) and variations, all of which had five basic dialects or knowledge systems from math to medicine as I have said my Ogham mentor taught me. Joyce appears to have a lot of symbology as well as a lot of insight others have difficulty piercing.

"Harriet Shaw Waver was baffled by it, not least because much of it is written in pidgin English!

But she made the above typescript for him, which he corrected, and which she then mislaid. So these corrections never found their way into the published text. This was not among the manuscripts she gave to the British Museum and was published for the first time, in June 1989, by the James Joyce Broadsheet.

The piece is based on the story of Patrick's arrival in Ireland, and his magical duel with the Arch Druids of High King Leary - in the story, related in the Tripartite Life of St Patrick, the saint wins the battle. But in his sketch, Joyce only gives us the druid's side, and so he described the piece as 'the conversion of St Patrick by Ireland.'

Note the addition of 'Lochru', which was the name of the main druid opponent of St Patrick.

Patrick's enemy is the 'archdruid of Irish chinchinjoss' - 'chin-chin' is pidgin for talking and 'joss' means god. So he's the top man in Irish God-talking - or theology!"

I wonder if Joyce thought Patrick was a triple agent including Rome, Druids and the Hibernian Royals or Stuart (Stewarts). Or is this TRIPARTITE related solely to the father, son and spook? In fact I need a refresher about the whole work of Joyce, and I have no intention to take the time, I would need.

The five dialects in Ogham may be separate from the five shades or angles of meanings. I think the depth of each perspective varies according to how the viewer sees how each vowel (the vowels were not there in most scripts at first) was integrated and maybe more than one could be integrated in certain cases. Clearly this would be true in poetry, math and divination applications and often in medical as well. It probably was not so complex in the superficial uses of simple day to day life.

In Hebrew (Mac Dari said was a sacerdotal architectural script for the builders of the Great Pyramid) we see this as Aleph begins to be used in conjunction with other symbols.

"Aleph The first letter of the alphabet has no sound. It is counted as a consonant, because Hebrew has no vowels, and yet it is a non-consonant. Already a mystery!

The very first letter you read, the aleph, is a symbol of the curiously postmodern, already-deconstructed condition of the Hebrew alphabet explored in this personal talMUD. The absence of vowels, in the pure primitive form of the language, invites multiple meanings for every word and thus keeps the reader in a certain suspense.
This lack of vowels is an artefact of its very primitiveness. It functions to keep certain meaning deferred. The aleph, unlike the A of Latin or English, or the alpha of Greek, is at one and the same time a sign of the missing vowel and a trace or token of the pictographic parent script which it superseded. On the one hand, the aleph is a nullity which gives no direction to the reader about how to pronounce it.

On the other hand, the aleph in itself is a placeholder, a sign of the absence of certainty, one of the first signs of the zero in the history of civilization. Like the zero, the aleph "is not an absence, not nothing, not the sign of a thing, not a simple exclusion." Rather, it is a signifier of the essence of the Hebrew alphabet, a meta-letter about the code of Hebrew, that phonetic script that lacks vowels, "signifying not Nothing but no thing":

a sign ... whose connection to 'nothing,' the void, the place where no thing is, makes it the site of a systematic ambiguity between the absence of 'things' and the absence of signs, and the exemplar ... of a semiotic phenomenon whose importance lies far beyond notation systems ... (Brian Rotman, Signifying Nothing)

Rashi understood this metaphysical quality of the aleph when he said that the aleph wears a veil.
It is this metaphysical quality of the aleph that induced Gregor Cantor to use it to signify infinity, and Jorge Luis Borges to use it to signify an artefact in which were mirrored all the things in the world."

In the same kind of thinking which I am addressing in reference to hobbits and genetic engineering by Neanderthals or D'Ainu in my Blog entry we have recent proof of another hominid who is a giant (sorry Sitchin - not aliens and your Annunaki are "D'Anu" or Homer's DNN and DN.) given the name Denisovan Man. Here I provide Indian legends about them coming to the Mississippi from Mexico. I have proven that Adena Poverty Point people who grew up to seven feet are also in contact with Mexico starting around 4,000 BC and with the copper axes of Tutupec even further south as is the case with the Mica flooring at Teotihuacan. Churchward worked with Niven of Austin, Texas on very ancient artifacts under Mexico City near the end of his life.

Were They Possibly Denisovan Hybrids?

The Cherokee called them the Moon People. The Utes and Paiutes spoke of a hideous race of cannibals ten feet tall living in caves. And the Choctaw also have an account of the race of giants that first colonized the Ohio Valley.

From Old World Roots of the Cherokee, chapter 5, "America's Middle Ages," pp. 78-79, we read:

What kind of Indians lived in the territory the Choctaw and Chickasaw carved out for their new home? According to their traditions, reports Cushman, as confirmed by excavations of bones in Tennessee, it was a “race of white giants”:

[T]he tradition of the Choctaws . . . told of a race of giants that once inhabited the now State of Tennessee, and with whom their ancestors fought when they arrived in Mississippi in their migration from the west, doubtless Old Mexico. Their tradition states the Nahullo (race of giants [literally, wizards]) was of wonderful stature; but, as their tradition of the mastodon [which used to be found on the Great Plains], so this was also considered to be but a foolish fable, the creature of a wild imagination, when lo! Their exhumed bones again prove the truth of the Choctaws’ tradition (151).

These giants could have been Rafinesque’s Atlans.

Cushman then recounts the discovery in 1880 at a burial mound site near Plano, Texas, of human bones “of enormous size . . . the femoral bones being five inches longer than the ordinary length, and the jaw bones . . . so large as to slip over the face of a man with ease.” Cushman goes on to identify them with the older occupants of North America called Allegewi or Taligewi (Talegans). Many historians, moreover, speculate they were the builders of the Adena mounds.

As for the Chickasaw, Cushman notes that they have no record of their history before the colonial period, although it is assuredly "the same as the Choctaws, being one tribe and people until the division made by their two chiefs Chikasah and Chahtah many years after their arrival and location east of the Mississippi River" (p 358). Of the Natchez, Cushman records that they, "if tradition may be believed, also came from Mexico where they had lived for centuries" (p 440).

A story was told by the Comanches in 1857:

Innumerable moons ago, a race of white men, ten feet high, and far more rich and powerful than any white people now living, here inhabited a large range of country, extending from the rising to the setting sun. Their fortifications crowned the summits of the mountains, protecting their populous cities situated in the intervening valleys. They excelled every other nation which was flourished, either before or since, in all manner of cunning handicraft—were brave and warlike—ruling over the land they had wrested from its ancient possessors with a high and haughty hand. Compared with them the palefaces of the present day were pygmies, in both art and arms. They drove the Indians from their homes, putting them to the sword, and occupying the valleys in which their fathers had dwelt before them since the world began. At length, in the height of their power and glory, when they remembered justice and mercy no more and became proud and lifted up, the Great Spirit descended from above, sweeping them with fire and deluge from the face of the earth. The mounds we [i.e. the speaker Chief Rolling Thunder and his Spanish listener] had seen on the tablelands were the remnants of their fortresses, and the crumbling ruins that surrounded us all that remained of a mighty city.[i]

The word Nahoolo or Nahullo “is now emphatically applied to the white race and no other . . . The Nahullo were of white complexion, according to Choctaw tradition, and were still an existing people at the time of the advent of the Choctaws to Mississippi,” concludes Cushman (p 153) . In agreement, the Indian trader Adair often refers to the Nani Ishtahoolo as departed white ghosts vested with spiritual powers whose descendants were priests and magicians. Their cries and magic spells could still be heard in the mounds like those at Ocmulgee.[ii] These references contribute to the suspicion that the “Indians” who preceded Asiatic tribes from Mexico were, as we would say today, Caucasian.

About exactly a year ago on this blog, we published a post about "Neanderthals in America," mentioning also the peculiar archaic skeleton that is now a roadside attraction in Arizona, called The Thing. In the meantime, we acquired a copy of Fritz Zimmerman's book, The Nephilim Chronicles, which reproduces over 300 historical accounts of Giant skeletons. Many are associated with the earliest mound sites in America, but Zimmerman's survey of this worldwide phenomenon ranges from the Hunter-Fisher People of northeast Europe and Red Paint People whose movements were circumpolar to the giants of the Bible, noted by the Babylonian Talmud as having double rows of teeth, and "Giants' Remains in the British Isles" (pp. 157-65).

Navajo legends speak of the Starnake People, a regal race of white giants endowed with mining technology who dominated the West, enslaved lesser tribes and had strongholds all through the Americas. They were either extinguished or "went back to the heavens." The name may be a corruption of the Biblical race known as Anakim (Num. 13:33, Deut. 1:28). The name Og (Hebrew "chief") appears to be characteristic (see Zimmerman, pp. 188-91). The ogham alphabet is attributed to this cultural founder.

Certainly, many of the mound sites uncovered in the nineteenth century tell a story of constant warfare by incoming Asiatic tribes against the giants occupying the land. One grisly scene showed thousands of skeletons, male, female and young heaped in a mass grave, with warriors' skulls pierced by arrows. It would appear that as these aboriginal inhabitants of the Ohio Valley were gradually displaced, some members of their society went over into the ranks of the new conquerors, bequeathing a strain of great stature still noticeable, for instance, in the Mobilian chief Tuscaloosa and DeSoto's Indian queen Cofitachiqui, both of whom were said to be seven feet tall.

We are struck by the following traits of this giant race or ethnic group from human prehistory:

Mother Goddess religion
Copper (not bronze) axes
Polished slate tools including fishing plummets, which were apparently regarded as sacred
Belief that the Grandmother Moon was the repository of souls
Diet emphasizing shellfish (for which the double row of teeth probably was selected as an evolutionary advantage in their beachcomber origin out of Africa?)
Building of fish weirs in North American rivers to trap migrating eels
Certain vegetarian habits (wild rice, for instance)
Inscriptions on artifacts, especially pipes, often buried with the dead
Use of coal and petroleum
Weaving and looms
Knowledge of seafaring, mathematics and engineering, including canals and irrigation
Burying of a dog with a child to guard the latter in the afterlife
A language apparently Afro-Asiatic and close to Semitic tongues
Kingcraft: nobles were buried in seated positions on thrones surrounded by a coterie of their retainers

When Denisovan Man was first discovered, we had just a fingerbone to go on. We can only extrapolate the look of the skull. Geneticists conjecture, however, that it was an Austronesian type. We suggest that a modern prize of science will belong to the geneticist who can derive ancient DNA to study and classify from the bones of giant hominids that are unavoidably plentiful in the archeological and mythological records of humankind.

Maybe the owner of The Thing will allow researchers to borrow one of the femurs for laboratory analysis and measurement. If that's not possible, the Smithsonian, Carnegie Institute and dozens of local historical societies throughout the Midwest have basements and storage facilities brimming with these relics of American history.

The James Legge translation of the Tao Te Ching or Book of Changes is interesting. The book may date to the seventh millennium BCE and thus could easily have roots before the meteor almost wiped humanity off the face of the Earth in the 9th Millennium - just in another area - perhaps. His translation reminds me of our binary coded Aymara computer language and the caduceus staffs with genetic influence and the ability to focus forces inside to kill a person from a distance such as these staffs did. They were later developed into the Tepaphone I have dealt with elsewhere.

"Man achieves the height of Wisdom when all that he does is as self evident as what Nature does." - I Ching

"There are actually four possible values for each of the lines; the two on/off values, and a line which changes from on to off or vice versa. Thus one cast of the I Ching can generate two different hexagrams, which adds depth to the interpretation. The sophistication of this method has not escaped modern interpretation, and the four-valued logic has been compared to the biochemistry of DNA amino acids. How a Neolithic shamans' divination technique presaged the basic logic of the human genome is one of the ageless mysteries."

I could place this observation in every thread and still have to place it in many posts. The issue is less a matter of how many Ph. D.'s we produce I think we should have more, but the courses he suggests should make up more than those focussed on paradigm methodology. Marks should go to those who ask new questions and challenge the teacher and fellow students to extend and expand their horizons and intuition.

"Historical speculation, philosophical argument, literary criticism, case histories, biography, semantic and semiotic analysis, ethnography - all these and more ought to be admissible as ways of telling our stories, and the less concern about method, the better. One becomes fastidious about method only when one has no story to tell.

...The alternative is to remain a shrivelled pseudo-science, useless for everything
except the assembly line production of PH.D.s.

Neil Postman.

Flavin is a member or contributor to ESOP and his article which follows (and others I have commented upon) demonstrates a cursory to poor understanding of Ogham. If you look at his calendar wheel from the era of the beginning of Sumer herewith you can see something about Linear scripts worked on by Gimbutas that when you have looked at Marshack's work on Le Placard Baton and it's accurate lunar calendar that will strike you as obvious I hope. Marshack had to fight tooth and nail for about 25 years to get academics to accept it was more than scratches by farming implements. Remember also there are many Ogham tracts in many areas as agreed by top linguists including David Kelley who supported Fell on his Peterborough, Ontario Woden-Lithi translation as he identified the script as early Ogham or Tiffinaugh.

"The meander or zigzag line is probably the oldest symboling structure, going back to an engraved ox-rib from Pech de l’Azé, France and dated to c. 200,000 BCE. [9] This simple design has had global currency and has established itself in many writing systems, often with similar meanings and sometimes with astronomic significance. [10]"

This is Gimbutas' area and where Dolni Vestonici had ceramics and alloying in 27,000 BCE. Needless to say the people promoting the Bible origins of a Cradle of Civilization never mention Dolni Vestonici where mother goddess figurines where the primary artform. The name fits the tartar/Hun and DNN link I am developing.

"The Sumerians may not have been the first people to invent the earliest form of writing, which allegedly appeared c. 3500 B.C.E. The Tartaria tablets, found in the western part of Romania and dating back to around 5300 B.C.E, according to radiocarbon dating, suggest that it was in Eastern Europe that writing first appeared. Some experts have dubbed the writing the Old European Script or the Danube Script"

One of the dialects or usage system of Ogham (Five according to my Ogham mentor) was music, poetry and what we can call the Harmonic. It is taught early alongside rhetoric and mime as well as languages. These apparent separate learning disciplines are in reality all part of the same thing. It is creative and fluidic and makes a great performance art possible. I had always known Shaw was part of the County Cork or Irish druidic region but somehow I missed a most important part of his technique which is so relevant to this study.

To suggest Mozart was an Illuminatus and not mystical because his fellow Illuminized Masons were rational and not of the mystical genre is almost laughable. Any Mason could join the Bavarian Illuminati but that means nothing in terms of what they actually knew about anything. But if you look at Wikipedia that is how they describe it. Yes, many Masons became a member of Weishaupt's Bavarian Illuminati but that does not make them overnight Illuminati. Yes, you can read any number of threads to see I know whereof I speak.

To say George Bernard Shaw is an hermeticist and close to being an Illuminati is far closer to the truth, in fact I will say he and Mozart both are even if they never joined a group with that title. And when you read what he says to an actress in what follows you will know Shaw had a sense of the Harmonic akin to Pythagoras the Druid and thus a closer understanding of real illumination or the Logos than many members of the HOGD he attended Inner Sanctum parties of, with his mistress Florence Farr. We also notice Wagner and Nietzsche who were important alongside the Runic Ogham in the cult of Wagner also known as Nazism (Conor Cruise O'Brien).

"SHAW AND THE DON: GEORGE BERNARD SHAW'S RECEPTION OF MOZART'S DON GIOVANNI

Gareth Cox

Wolfgang Amadeus Mozart

This is the text of a talk given to the Limerick Philosophical Society in 1993. It was illustrated with many musical examples from Don Giovanni [these are indicated in the text with their relevant bar numbers]. It deals generally with Shaw’s lifelong fascination with the music of Mozart and in particular with the influence on his work of one of Mozart’s greatest operas, Don Giovanni. Scholars, both philologists and dramaturgists alike, have long recognized the importance of structural aspects of Mozart’s music on Shaw’s dramas. Shaw himself felt that a certain knowledge of Mozart was a necessary prerequisite for an understanding of his works and in a letter to the American actress Molly Tompkins he wrote, "I don't know whether you are a musician, but if not, then you don't know Mozart, and if you don't know Mozart, you will never understand my technique". [Tompkins, 11]

The two major cultural figures of Mozart and Shaw appear at first glance to be an unlikely pairing: One an eighteenth-century composer of music mainly for the aristocracy; the other a twentieth-century socialist. Wolfgang Amadeus Mozart, born in 1756, represents the apogee of the Viennese Classical style and composed works in practically all musical genres including such unforgettable operas as The Marriage of Figaro, The Magic Flute, and of course, Don Giovanni. George Bernard Shaw was born exactly a hundred years later than Mozart in 1856. He enjoyed an enormous reputation as a prolific dramatist through such plays as Joan of Arc, Pygmalion, Caesar and Cleopatra, Heartbreak House and Man and Superman. He was active in the Fabian Society advocating democratic socialism and was well-known as a social and political iconoclast. He enjoyed world-wide fame, won the Nobel Prize for Literature in 1925, was offered a knighthood which he declined, and refused the Order of Merit stating in typically brusque Shavian fashion that he had already awarded it to himself.

Shaw was also music critic until 1876 of the London papers, The Hornet, The Star, and The World. Although he knew a great deal about music, he confessed that he did not know as much as one would suppose from his articles but, as he said, "in the kingdom of the deaf the one-eared is king" [Shaw, II, 808] and he never ceased using his position of influence as music critic to encourage the public to demand better standards and the musicians to produce them. As William Irvine states, "Shaw was by no means content to tell composers how to compose, musicians how to play, stage managers how to produce, and audiences how to feel. He also told financiers of music how to venture and manage, and the government how to legislate with reference to musical problems. In his critical pages the English, a placid and political people, discovered with amazement that music was a burning political issue, and might at any moment explode into social revolution". [Irvine, 324] He wrote under the pseudonym Corno di Bassetto as he felt that he had no name worth signing: G.B.S. meant nothing to the public at the time and he chose Corno di Bassetto because
a) he felt it sounded like a European title and
b) because nobody knew what a Corno di Bassetto actually was. [Shaw, I, 30]
He was later to say though that, "if I had ever heard a note of it [then] I should not have selected it for a character which I intended to be sparkling. The devil himself could not make a basset horn sparkle". [Ibid., 31] These subjective, trenchant and inimitably Shavian reviews reveal a portrait of musical life in London during the late Victorian Era and beyond and were collected and published by the Shaw scholar Dan Lawrence in three volumes in 1981 under the title Shaw's Music.

Mozart’s music did not enjoy the same enormous popularity during the late nineteenth century as it does today. In London the most important musical events were the great Choir Festivals at which works by Bach, Handel, and particularly Mendelssohn were presented in performances with gigantic forces of singers. There was an over-exaggerated sense of the importance of Italian opera and many English composers actually had to have their operas first performed in Italian translations in order to be taken seriously (the first performance of Wagner’s Der Fliegende Holländer was sung in Italian translation); in fact Wagner was rarely heard at all, {Does this mean Shaw motivated other Socialist/Fabians in Germany to learn from one of their great people?} and as Shaw wrote in 1890, "a man who has seen Die Walküre on the stage is a much greater curiosity than one who has explored the Congo". [Ibid., 924] Indeed, most of the concert-goers only wanted to hear the popular operettas of Gilbert and Sullivan. Shaw was famous for his championing of both Wagner and Mozart: In 1891, the year of the Mozart Centenary, Shaw wrote in an article in The Illustrated London News that "at present his music is hardly known in England except to those who study it in private. Public performances of it are few and far between, and, until Richter conducted the E flat Symphony here, nobody could have gathered from the vapid, hasty, trivial readings which were customary in our concert rooms that Mozart, judged by 18th century standards, had any serious claim to his old-fashioned reputation". [Shaw, II, 488] The Centenary was celebrated nonetheless, although Shaw was scathing about how journalists were prepared to cover it with "likenesses of Mozart at all ages; view of Salzburg; portrait of Marie Antoinette [...] to whom he proposed marriage at an early age" etc. [Ibid., 478] He pitied the unfortunate singers, players and conductors most because they would have to actually make the public hear the wonders which the newspapers were describing so lavishly. Of the performance of Mozart’s music he writes that "nothing but the finest execution - beautiful, expressive, and intelligent - will serve [...] whilst, at the same time, your work is so obvious, that everyone thinks it must be easy, and puts you down remorselessly as a duffer for botching it". [Ibid., 482f.]"

Make no mistake about the connection between German esoteric circles Bulwer-Lytton, HOGD, Steiner, Vril and Thule - they had a role to play in both world wars and in the Russian Revolution promised by Lord Rothschild in the 1860s not long before Shaw wrote about Wagner and Mozart. That does not implicate Shaw, Mozart and Wagner as a planner but those (if any) who planned these things took advantage of them. In the case of Wagner the Wagner family was a vital part of Hitler's circle.